By Julia Haig Gaisser
Oxford Readings in Catullus is a suite of articles that signify a sampling of the main fascinating and critical paintings on Catullus from round 1950 to 2000, including 3 very brief items from the Renaissance. The readings, chosen for his or her intrinsic curiosity and value, are meant to be thought-provoking (and occasionally provocative) and to problem readers to examine Catullus in several methods. They show a few techniques - stylistic, ancient, literary-historical, New severe, and theoretical (of a number of flavours). Such hermeneutic range is very applicable when it comes to Catullus, whose oeuvre is famously - a few may well say notoriously - different in size, style, tone, and material. the gathering as a complete demonstrates what has Catullus' readers within the final part century and indicates many of the ways that they could method his poetry sooner or later. it's observed by way of an creation through Julia Haig Gaisser on topics in Catullan feedback from 1950-2000.
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Additional info for Catullus (Oxford Readings in Classical Studies)
The choice is between Ca˘me¯rium and Ca˘me˘rı˘um (accented on the e or on the a). This is one of the two poems in which Catullus uses contraction of the hendecasyllable, and he may therefore have admitted resolution. I count Camerium as an instance of iambic base. ). E. Norden must have winced to see his youthful comment (1895) on the phalaecean bases cited by Schanz-Hosius. To ascribe the absence of light bases from the 22 hendecasyllables of poem 55 to Varronian inﬂuence and say nothing of their absence from the 190 hendecasyllables of poems 9 to 26 was obviously wrong even before R.
146–8) We know that only those things which are permitted are known to you, but to a husband, these things are not permitted. sola would appear to make no sense, but the commentaries are silent. , consuetudo glabrorum, ‘sexual intimacy with beardless boys’), but to a married man the same thing is not permitted’. Therefore read quae licent soli (‘which are permitted to a single man’):8 false concord, here bringing soli into line with quae licent and cognita, has just been shown to be a very common fault of the Veronensis.
In 1983 James Zetzel countered with ‘Catullus, Ennius, and the Poetics of Allusion’, arguing that Catullus’ allusions had not merely polemical, but literary force, providing ‘an intertextual guide to the interpretation of the poem’; the article is included in this volume. Attention to structure, neoteric poetics, and allusion was a natural consequence of literary close reading, but so was an interest in 52 I quote from the English translation (Conte (1986: 27). See Charles Segal’s helpful foreword (7–17) and the perceptive review by Michael Putnam (AJP 108  787–93), who hails it as ‘one of the most signiﬁcant works on Latin literature to be published since the Second World War’ (793).